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BULL FROG


Set Range to about 20-30 Hz. (Set range pitch to taste). Skew - 50%. Triangle -30%. Hit and hold trigger, then repeat.

Submitted By: Ron Ruggiero, Erie, PA.





NIGHT SOUNDS


Keyboard: high range, no glide.
VCO-1: init. pitch - 50%
VCO-2: init. pitch - 25% - 75%
VC 0-3: init. pitch - 25% - 75%
LFO: 2-20 Hz.; 10% amplitude
Bias: minimum voltage that will trigger oscillation of VCO-2 and VCO-3.

The connection from VCO-2 (audio out) to VCO-1 (control voltage in) is via an attenuation patch cord such as that described in the 4730 filter handbook.

As with any patch involving this many variables, minor adjustments will produce considerably different results.

Submitted By: James R. Wood, Santa Fe, N. M.





CAR OR MOTORCYCLE PASSING YOU BY


VCO - Range - 20-30 Hz.
Triangle - 25%
Set attack and decay in both VCF and VCA as shown. Noise set slightly off minimum. Start with Skew at maximum. Hit trigger and when VCA reaches peak, rotate skew to 50% and after it reaches 50% release trigger. It takes some coordination for proper effect.

Submitted By: Ron Ruggiero, Erie, PA.





TONE WARP I


Tone Warp I

1) Keyboard set at the upper range.
2) Modulation frequency offset slightly less than one octave. 3) Adjust balanced modulator modulation control.
4) B.P, filter "Q" at maximum.
5) AR expand off, A. 50%, R. 30%.
6) ADSR, A. 20%, D. 20%, S. 75%, R. 50%.
7) Adjust keyboard pitch to tune completed patch.



TONE WARP II



Tone Warp II
I. Basic
1) Set keyboard to desired range.
2) Patch in desired carrier waveform (try a triangle first). 3) Adjust modulation control.
4) B. P. filter "Q" at maximum.
5) Trigger AR and ADSR with step trigger.
6) AR expand off, A. 50%, R, 30%,
7) ADSR - A. 20%, D. - 20%, S. -75%, R. - 40%.
8) LFO P.W. M. approx. 4Hz., pulse to 50% duty.

II. Down Tone
1) ADSR full output to VCO.
2) Adjust bias for mod. at 0V ADSR output (try using keyboard instead).

III. Up Tone
1) 5v. bias.
2) Invert and adjust ADSR output for mod. when ADSR is on.

IV. Variations
Invert the filter control, sweep the filter, change the AR profile for mod. before the tone, change the triggers, vary the PWM, use a function generator for PWM, etc.

Submitted By: Mark Schweter, Parma, OH.





PIANO TYPE ENVELOPE with a 2720-4 AR


AR: Expand - off, Attack - 0-100%, Release - 1-10%

This patch gives those with 2720-4 AR's greater control over dynamics in the following manner. The capacitor will cause the level to fall even if a key is held down. If it is held down long enough the level will fall almost to ground by itself. But whenever the key is released, the level will fall to ground at the preset release rate. See diagram.

The dynamics are somewhat like those of a piano, though the setup can be used with any patch going into the VCA.

Submitted By: Kenneth Keeler, Houston, TX.





HEAVY METAL POGO STICKS


The basic patch and panel parameters produce a bizarre sound-noise-music that I refer to as "Heavy Metal Pogo Sticks". But on the serious side, I have included instructions to modify the patch to produce sounds that were used by some of the "classical" electronic composers of the 1950's and 1960's.

Reverb: 30%
4730: Lowpass output, track position, high range, max. Q, init. freq. - 80%

4740:
A - minimum
D - 75%
S - 75%
R - maximum

(1) 4720: Sine tuned to C3
(2) 4720: Pulse/Square tuned to A4
LFO: 3 Hz.; Var. - 50%
Perform at keyboard mid-range.

Modifications:
For non-harmonic, heavily modulated tone clusters like those used in M. Kagel's Transistion I (1959-60) and other early works:
(1) 4720 Sine - Tune init. pitch to max. or near. LFO to max. freq. (about 25 Hz.), variable output - 50%.
4730 Filter: Init. freq. - 50%>. Perform in quick atonal progressions.

For opening tones from Transistion I or Summer Idylle (1959) by Schaffer or Objets Lies (1959):
Set LFO var. near but not at zero. 4740 Attack to maximum. Perform long sustained tones, glide may be useful, season to taste. Mid to low end pitch range.

Submitted By: Bruce Goren, Douglastown, N.Y.





WOMAN'S VOICE

FROM "GOLLIWOGS CAKEWALK" ON ISAO TOMITA'S SNOWFLAKES ARE DANCING

LFO: 9-10 Hz. Variable output; only slight
VCO: init. pitch - 35%, PWM - 75%
VCF: init. freq. - 70%, Low Pass: Q - 60%
KBD: slight glide, middle octave works best.
ADSR: attack - 50%; decay - 0%; sustain - 60%; release - 40%

Use reverb if possible, occasionally vary filter init. freq. as playing for the full effect.

Submitted By: James Holloway, Dallas, TX.





THE GNOME CRICKET


Notes: Use upper right hand portion of the control strip. Adjust filters range, attack & decay controls for the best sound that suits you. Do not hold trigger button down long.

Submitted By: Walt Simmons, Lincoln, NB.





EAR PIERCING SCREAM


B.P. Filter: Q maximum
AR: A - 50%, R - 30%
Inverter: Cv, offset

Submitted By: Ron Jones, Orange, CA,





STEAM TRAIN


First set the Noise so that it is barely on and set the VCF attack to minimum. The train is now moving full speed in the distance.

Move both the Noise and the attack clockwise to get the effect of the train slowing down while getting closer to the "train station".

As you "pull" into the station, let go of the trigger as you slide the VCF sustain switch to off. This is the final blast of steam as the train stops.

You should adjust the FREQ/Q switch to your own preference.

Submitted By: David Patterson, Regina, Sask., Canada





EERIE WHISTLE


Pitch: maximum
Filter: "Q" maximum
AR: Attack - 0%, Expand - off, Release - 0%

The inverter is used only to amplify the triangle wave so it can be heard over the noise. The patch sounds best when played in the top octave, perhaps with some glide. The filter should be grounded at one input. The eerieness derives from the sweep of the filter by the keyboard through the capacitor on the 2720-7 front panel, which causes the triangle wave to sound somewhat hollow.

Submitted By: Kenneth Keeler, Houston, TX.



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Building A Bionic Sax


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